Foreword
(an article whom a gentleman (who declined to be mentioned nor credited) sent me
and I retouched the original content slightly).
I will look into reconstruction of this section later. For those of you who may be
having any of these oldies. You may consider taking some pictures of your possession
to beef up the graphic interface and/or personal experience in this section. You
may send to any of the co-maintainers of the FD lens/camera board (listsed under each Message Board).
If you prefer to send the articles/images of the lens, you may send to me directly. Credit and return link will be provided.
When a friend of mine got to know that I am compiling some information on the old
Canon FL and FD lenses, he said I was wasting my time, because no one cares about
those manual focus cameras or lenses anymore in the Internet. I told him I did it
because just like what he had commented - no one cares and secondly, just because
the medium of Internet, we have now a new medium to promote photography. But photography
is not all about technology and autofocus, right ? And what a high price tag we have
to pay for the 'technologies- just for an instance, the multi-features Command Back
MF-28 designed specifically for Nikon F5 costs twice the price we paid for a solid
Nikon F3 bodies during the eighties. Recently, Canon's newly introduced dedicated
EX550 AF flash designed for the amazing eye-controlled EOS-3 worth the equivalent
of two units of the top-of-the-line New F-1 bodies of the eighties. Hey, before the
invention of A-TTL flash, we still take pictures with flash and the lens we used
still can focus, right ? More ridiculous was recently I received a sales promotional
leaflet from a local Leica distributor, offering a 100mm macro lens for RM36,000
! (US1-00=RM3.80).If you can differentiate a 35mm
slide that tells it was taken with a Leica, I will salute you and next ask yourself,
how many 18" enlargement did you do in a year ? But do we really need such sophistication
to interpret the vision or imagination ?

Photography, for most of the time, are capturing a moment of truth or interpreting
how we visualize things, or events happened in front of our eyes. To certain extend,
technologies helps to realize imagination and make way easier or simplify an image
capture process.

Site UPDATES:- FOR those of you whose interest are with
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To be able to use your camera as a
tool to produce realistic pictures, it is important that you thoroughly know the
latest facts about your camera and obtain basic knowledge about interchangeable lenses.

With such tools as a camera, a lens and film, it is possible in a split second to
produce a masterpiece that will be praised by many people something that deserves
to go no further than the wastebasket. In creating a worthy photographic production,
you will soon become aware that this process involves factors other than the camera
and the lens. To capture the emotion or the feeling of the subject, the photographer's
eye must determine the precise moment to take the picture. Another factor is, of
course, chance or coincidence. However, without being constantly alert and active,
this chance or coincidence will not be apparent. To find the precise moment to take
the picture, it is necessary to train your own eye to recognize the proper instant.

Equipped with the latest camera, this is your opportunity to take the fullest advantage
of the interchangeable lens controlled by your eye and your mind to compose and to
create many excellent examples of photographic art. Let's consider for a moment which
is more advanced, the human eye or the lens. We naturally demand more of the lens
than the human eye and our expectations have not been disappointed. Thus, the edge
could be on the side of the lens, but the human eye, on the other hand, is controlled
by a God-given brain. The exploitation of this brain opens up limitless possibilities.
The lens, therefore, is only the eye of the camera controlled by the human mind.
In other words, the two play the role of the ruler and the ruled. Although the naked
eye has a broad vision, at times it has a very narrow angle. Moreover, the overall
vision of the human eye covers a super-wide-angle of nearly 180° up and down,
left and right. Even when looking around aimlessly, it is still possible to get super-wide-angle
vision. Our eyes have qualities ranging from long telephoto to super-wide-angle,
and with the help of the brain their capacity is almost limitless.

SLR Camera Expands Lens Inter
changeability

Although the interchangeability of lenses was naturally thought of when the camera
was first produced, the early camera was described in an oversimplified manner as
a dark box with a lens. Even then lenses were interchangeable, but they had no relationship
whatsoever to the mechanism of high-grade cameras of today. In addition, they were
so large few were used by amateurs. With the improvement in the quality of films,
the camera gradually became smaller in size until the heyday of 35mm cameras. This
era was marked by the appearance of the high-grade 35mm rangefinder cameras. Under
this system, the problem of lens interchangeability was concerned first with telephoto
lenses and how they could be coupled to the camera's rangefinder mechanism. Generally,
the focal distance was confined to 135mm and the limit of the aperture was f/2.5.
Above this, the reflex housing was used. The solutions to these problems and limitations
seemed to be in the single-lens reflex design. However, the ordinary 35mm single-lens
reflex camera which was miniaturized from its former large size was no match for
the coupled rangefinder type, either from the point of maneuverability or ease of
handling. To satisfy requirements, the present-day single-lens reflex camera with
eye-level finder and pentaprism was developed. Even this model was unable to free
itself from the basic structure of the single-lens reflex camera, but improvements
were incorporated, such as the quick return mirror, automatic diaphragm, and easier
handling. Today, in production, the single-lens reflex camera has overtaken the high-quality
35mm focal plane rangefinder type camera which is also equipped with interchangeable
lenses.

For owners of a Canon single-lens reflex
camera they no longer have to dream about using a 1000mm ultra-long-telephoto lens
or, if necessary an ultra-long-telephoto lens of greater focal length. In fact, Canon
has the longest telephoto lens in the world, the ultra-long-telephoto 5200mm, for
a single-lens reflex camera. Because of the single-lens reflex design, not only can
you see the field of view, but there is also no problem of parallax (difference between
finder view and that of the picture-taking lens). You can also see the composition,
lighting, and precise moment to take the picture. Moreover, you can fit almost any
lens and focus through the pentaprism finder. It is truly an ideal design. Space
for the movable mirror is absolutely necessary in this type of camera. This is a
problem peculiar to the single-lens reflex and is not easy to solve. Hence, at the
beginning it was difficult to attach super wide-angle lenses. But Canon's never-say-die
lense designers soon overcame this limitation by successfully designing a retrofocus
super-wide-angle lens. The retrofocus wide-angle lens, whose entire structure is
in front of the mirror, is a wide-angle lens that does not interfere with the action
of the mirror. Although the lens itself is sticking out in front of the camera, the
focal length is no different from the short focal point of the ordinary wide-angle
lens. The lens is a special design, an inverted telephoto.

While the extent of the lens performance is of interest, as far as Canon products
are concerned, they equal the superb performance of the general type. Moreover they
have the added advantage of transmitting larger quantity of the marginal light beams.
Among the outstanding Canon lenses are the super-wide-angle FL 28mm F 3.5 and the
world's first retrofocus FL 19mm F 3.5R lens enabling viewfinder focusing. It is,
of course, disadvantageous for the single-lens reflex camera to have even a protruding
wide-angle lens. On the other hand, however, it must be remembered that the single-lens
reflex has the unique advantage of being able to provide through-the-lens focusing.
Furthermore, the super-wide-angle lens under 20mm, as a natural result of having
a short focal length, also possesses a large depth of field. This depth of field
could be the same for a retrofocus design as for the standard design in the same
focal length. Some wide-angle lenses of the standard design can be used on a single-lens
reflex with any viewing or mirror interference problem. However, the mirror interference
problem would exist if a standard designed 19mm lens, with a protruding rear section,
were used on a camera. By lifting up the mirror and locking it up, as is possible
with the Canon FT QL, FX and FP cameras, an auxiliary viewfinder would solve the
viewing problem. It was on this theory that the Canon FL 19mm F 3.5 lens was designed.

At the present time, there are more than 20 interchangeable lenses, from the 19rnm
super-wide-angle to the 1000mm ultra-long-telephoto lenses and the zoom and macro
lenses, which can be used for the Canon FT QL, Pellix QL and FX cameras to fill completely
all needs.

There are more than 20 different varieties of lenses by Canon ranging from the 19mm
super-wide-angle to the 1000mm ultra-long-telephoto. All, however, are not for general
use. As a matter of fact, there are so many that the question of selection becomes
a problem.^ In order to differentiate between these lenses, it is convenient to classify
the 19mm and 28mm as super-wide-angle, the 35mm to 38mm as wide-angle, the 50mm to
58mm as standard, the 85mm to 200mm as telephoto, and the 300mm and over as long-telephoto.
Foremost among these classes are the zoom types which are not so popular that they
can be considered as general lenses. While there is necessity for compromise regarding
their aperture, they do fulfill the long felt desire for a lens with qualities equivalent
to a number of lenses. Canon's zoom lenses possess that quality. The zoom is especially
-effective for press or record coverage of sporting events where the objects are
constantly moving, or for stage photography where the photographer's location remains
unchanged but where different views are desired.

Then there is the macro lens for close-ups. The ordinary lens has limited helicoid
length, but with the use of an extension tube or bellows it is possible to shoot
close-ups with the prime optics. The Canon FL 50mm F 3.5 Macro type standard lens
is specially designed for close-ups with high resolving power, high contrast and
good color balance. It can be used between infinity to 0.5X close-ups by itself,
and with the joint use of a life-size adapter it is possible to shoot 0.5X to life-size
(1:1) pictures. The lens also incorporates effective aperture compensation mechanism
(the f-number naturally changes with close-up photography). Now we will talk about
the large aperture FL 55mm F 1.2 and FL 58mm F 1.2 standard lenses. The appearance
of these marvelous lenses followed on the heels of the development by Canon's superior
technology of the world-famous super-large aperture 50mm F 0.951ens for Canon 7 and
7S use. Another notable product is the thin type wide-angle lens FLP 38mm F 2.8,
which grew out of the idea of utilizing a wide-angle lens to enhance the stationary
mirror system of the Pellix QL. Although not directly related to interchangeable
camera lenses, yet another product of distinction is the Canon E lens specially used
for high quality enlargement purposes. The accomplishments of outstanding cameras
and lenses should naturally be crowned by the use of an equally outstanding enlarging
lens.

Let's examine the relationship between the through-the-lens exposure meter structure
in the FT QL and Pellix QL and the interchangeable lenses. The greatest drawback
in the latest type of exposure meter, despite the fact that it was developed to the
point of a built-in mechanism synchronized with the shutter and diaphragm, occurs
during the changing of lenses. These include the problems of disagreement between
the incoming light angle of the exposure meter and the angle of view of the lens
and the change in the f-number of the lens when photographic conditions are altered
(such as for close-ups), and the effect of an insufficient quantity of marginal light
when opening the super-wide-angle lens to maximum aperture. For the same reason that
the ground glass focusing screen of the single-lens reflex camera was able to have
the field of view of the viewfinder exactly the same as that which would appear on
the film, the through-the-lens exposure meter design was able to apply the single-lens
reflex principle to the incoming light angle of the meter. With the use of this single-lens
reflex photometry system it is possible to automate the change in the f-number under
special lighting conditions to compensate for the exposure factors of filters. If
the through-the-lens exposure meter is to be considered as an adoption of the single-lens
reflex principle, it is at the same time an ideal exposure meter for all interchangeable
lenses.

Technical Data for Canon FL Interchangeable Lenses and Lens Mounts Ever since
its establishment some 30 years ago, Canon Camera Company has been mainly manufacturing
precision, high quality 35mm cameras. Canon also has the same history and achievements
in the field of lenses. For example, in the field of interchangeable lenses for rangefinder
type focal plane shutter cameras, Canon is supplying a series of substantial lenses
including the 50mrn F 0.95 standard 1ens which broke through the f/l barrier. This
lens was designed based on Canon's superior and unique optical theory. Furthermore,
Canon has over 20 different types of lenses available, to meet all photographic needs
for Canon FTQL and single-lens reflex focal plane shutter cameras, from the super-wide-angle
19mm lens to the ultra-long-telephoto 5200mm lens.

FL 19mm F3.5R

World's highest quality super-wide-angle lens with the fastest lens speed of f/3.5
in its class. Because it is a retrofocus type, through-the-lens focusing can be performed,
and the entire 96-degree field of view can be recorded on film. Optically, the various
aberration compensations are excellent. It is especially free of astigmatism and
image distortion is held to less than one per cent. Therefore, clear and sharp images
are possible to the outermost edges, and overall sharpness is superb. It is a lens
that is regularly used by professional photographers.

Credit:- " .. The picture shown
is incorrect: in the picture there is the FL 19mm F/3.5 (the "short focus"
model without letter R). R refers to retrofocus. There are two versions of FL 19mm.
The so called pancace model where mirror must be locked up and the so-called retrofocus
model (the 19mm F/3.5 R) which was a retrofocus type and thus didn't need mirror
lockup...".

This lens is mounted and used with the quick return mirror fixed in the retracted
position. A reverse Galileo type finder must be used and focusing is performed by
measuring the distance visually.

This super-wide-angle lens has a very
deep depth of focus. When it is opened to maximum aperture and focused at 3 meters
(approx. 10'), the depth of focus is l.Sm (approx. 5') to infinity. When the aperture
stop is set at f/11 and the lens is focused at 1 meter (approx. 3.3') the depth of
focus is an extraordinary 60cm (approx. 2') to infinity.

This Canon lens has a very short length of only 41mm and was designed for easy manipulation,
small size and light weight. There is no loss in the quantity of marginal light because
of the large front lens element and spherical aberration and astigmatism are extremely
well compensated. This lens, which is an intermediate between the 19mm and 35mm lenses,
does not have an extreme perspective and is very handy for taking pictures of buildings
or for indoor shots where space is limited.

A retrofocus type wide-angle lens with a large aperture, passing a large quantity
of marginal light because of the two large elements in the front group. This lens
has very flexible characteristics in that soft delineation. And it is possible at
maximum aperture while very sharp pictures are available when the aperture is closed
down.

The elimination ,of spherical and other aberrations, minimization of flare and highly
faithful reproduction of colors are the outstanding features of this lens.

This wide-angle lens is the latest addition to Canon's Compact Lens Series. The lens
is light and compact in design. Its 64-degree angle of view and 35mm focal length
for deep depth of field give the photographer an extremely good working range, especially
for taking snapshots. Elimination of aberration, superb resolution and contrast are
imparted to photographers by the theory of response function and the proper arrangement
of the lens complement including a new type glass. The lens ensures crisp, sharp
images even at maximum aperture.

This lens was developed for use on the Canon Pellix QL, the world's first camera
with a stationary pellicle mirror. It is a very compact lens with an overall length
of only 21mm. Its construction is a variation of the so-called improved triplet type
using a new type of glass. Very sharp pictures are available by slightly closing
down the aperture, and uniform and high resolving power is guaranteed to the edges.
Snapshots at close distances, to say nothing of scenery shots at infinity, appear
natural.

The correction of aberrations of this lens was severely pursued until they were almost
completely eliminated.

This lens is ideal for close-up photography, copying and macro photography where
high resolving power is required. It is also designed for high performance in shooting
ordinary pictures. A double helicoid design allows focusing and shooting from 0.5X
to infinity and the shooting range is extended to life-size (1:1) with the use of
the life-size adapter accessory.

A high quality standard lens of ~component, ~element construction that belongs to
the so-called improved Gauss type. It incorporates a new type glass for the rear
element and the various aberration compensations are excellent. It is also the smallest
and lightest of the FL standard lenses because its aperture ratio is held at f/1.8.

This lens is an improved version of the original FL 50mm F 1.8, already widely accepted
es a leading standard lens in the world. The newly designed optical system has increased
overall performances to marked degrees. Astigmatism has been eliminated by reducing
the Petzval sum to a minimum and picture quality has been greatly improved, especially
from the intermediate to the corner portion. Aberration caused by magnification has
been reduced, providing stable performance for close-up photography.

A fast standard lens with a large aperture of f/1.4. Although a small amount of flare
is sometimes recorded when lights are included in pictures of maximum aperture, flare
elimination and sharpness increase when the aperture is closed down to f/2.8. Corrections
of culvature of field, astigmatism and color aberration are excellent. This lens,
which meets- all photographic requirements, is the ultimate in standard lenses.

The majority of standard lenses for single-lens reflex cameras today have the lens
speed of f/1.4. This 50mm F 1.4 II lens is based on the FL 50mm F 1.4 design but
has been improved a step further by enlarging the aperture, increasing the quantity
of marginal light, and the number of elements to obtain richer and higher contrast.
It also provides accurate color transmission.

This lens has one of the highest lens speeds of any of the standard lenses used in
single-lens reflex cameras, together with the FL 58mm F1.2 which is already on the
market. The lens, belonging to the improved Gauss type, was developed by Canon to
complete the series of lenses with higher resolving power and higher contrast. Utilization
of four high-index glasses of a new type, together with a new design and positioning
of the optical system, has completely eliminated high curvature of field and spherical
aberration, resulting in greater center clarity, unusual for a lens with a maximum
aperture opening of f/1.2.

This lens has the fastest lens speed of all standard lenses for single-lens reflex
cameras. Despite its ultra-large aperture it is characterized by very little flare
at maximum aperture and the various aberration compensations are excellent. Therefore,
this lens is ideal for photographing subjects indoors in the evening or on the streets
at night. Focusing through the viewfinder is very easy with this lens because of
image brightness. Pictures hitherto difficult to shoot can now be taken easily with
the use of this lens.

Designed for a wide range of uses from portraiture to nature work as well as general,
all-round photography, this lens provides faithful reproductions of scenes, exactly
as seen with the eyes of the user. The large aperture provides ample scope for available
light photography and, when used at maximum aperture, some softness of the image
adds to the pictorial quality, particularly when emphasis on the soft lighting quality
is wanted in the final photograph.

This lens has approximately the same magnification as the human eye. Thus, it is
very convenient and is ideal for taking natural snapshots on the street or for portraiture.
It has long been a popular lens among camera fans for its sharpness. The "100mm"
is so highly reputed that it is "associated only with Canon'' among Camera fans.
This small-size, lightweight, easy-to-use, superb lens is constantly used by many
photographers.

The overall length of this small-size, lightweight lens is only 83mm. As for lens
speed it is only 5/6th of an aperture stop slower than the FL 135mm F 2.5 lens, with
everything else being almost similar.

This representative lens of Canon's compact series has many fine features which include
small size, light weight, moderate price and high performance. Its aberration compensations
are similar to the 200mm F 3.5 lens, having uniform resolving power all the way to
the outer edges and almost no quality difference between maximum and minimum aperture
openings.

This lens, which faithfully reproduces
color, is becoming increasingly popular among camera fans.

Intensely effective telephoto effects are possible even when hand-held. This lens
has a built-in type lens hood and a completely automatic diaphragm mechanism. Compensations
for the various aberrations are excellent, and the high contrast and superior resolving
power of the lens are its other outstanding features.

This lens is widely used for shooting sporting events, animal life and for news photography
besides snapshots and portraiture.